A Quote by Bill Gates
Exposure to the reproductions [of Corbis-owned fine art photographs] is likely to increase rather than diminish reverence for the real art and encourage more people to get out to museums and galleries.
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Anyone who relishes art should love the extraordinary diversity and psychic magic of our art galleries. There's likely more combined square footage for the showing of art on one New York block - West 24th Street between Tenth and Eleventh Avenues - than in all of Amsterdam's or Hamburg's galleries.
Andy was a nonverbal person; you couldn't get directions out of him. All he knew was what was modern in art was what wasn't art: The telephone was art, the pizza was art, but what was hanging on walls in museums wasn't art.
The art that I do is for the people. It is about engaging a new audience who wouldn't necessarily go to art galleries and museums and painting on the street is the best way to do that.
Of course, museums and galleries and art spaces will continue to ground the art world. But certainly the public - as well as artists - also benefit when art is encountered in other everyday situations.
I take pleasure in working with the non-art photographs that reside in public archives, essentially authorless and owned by the world itself, because I find the world of fine art photography to be pretty silly and pretentious.
I'm a contemporary artist and I show in art galleries and museums. I show a number of photographs and films, but I also make television programs, books and some appetizing, all with the same concept.
Television was restricted by my parents. They encouraged reading more than anything. It wasn't done in a let's-get-educated kind of way, it was: 'This looks like it might be fun so let's do it.' There were a lot of castles, art galleries, museums and mountains to climb.
Art is not an investment. Art is something you buy because you are financially solvent enough to give yourself a pleasure of living with great works rather than having to just see them in museums. People who are buying art at the top of the market as an investment are foolish.
Through our own creative experience we came to know that the real tradition in art is not housed only in museums and art galleries and in great works of art; it is innate in us and can be galvanized into activity by the power of creative endeavour in our own day, and in our own country, by our own creative individuals in the arts.
Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings.
Museums provide places of relaxation and inspiration. And most importantly, they are a place of authenticity. We live in a world of reproductions - the objects in museums are real. It's a way to get away from the overload of digital technology.
Fine-art photography is a very small world associated with galleries, museums, and university art programs. It's not like rock music; the products of this world have never been widely seen because the artists are often exploring things that are not already coded in general consciousness. It's not that photographers don't want to be famous, it's just that very few of the views from the edges of culture make the mainstream. Ansel Adams was an exception.
Great Art is Great because it inspired you greatly. If it didn't, no matter what the critics, the museums and the galleries say, it's not great art for you.
And I do think that good art - the art that tends to last - is that art that hits human beings on several different levels at once because everybody's different. Some people approach art through their emotions, others through their head, and the art that can appeal to all of those levels is more likely to reach more people. Having more people see the work doesn't necessarily mean better art but it stands a better chance of lasting.
Sometime when I was in my mid-twenties I noticed, "Hey, even I don't go into too many art galleries. Why? Because I don't like the vibe in them. If even I'm not going into galleries, then who goes into art galleries in the first place?" It's just a certain, very narrow percentage of the population.
Our task is not to find the maximum amount of content in a work of art, mush less to squeeze more content out of the work than is already there. Our task is to cut back on content so we can see the thing at all. The aim of all commentary on art now should be to make works of art - and, by analogy, our own experience - more, rather than less, real to us.
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